[cor-ardens-archive]

“[tw abuse, incest, csa] Abused children sometimes interpret their victimization within a religious framework of divine purpose. They embrace the identity of the saint chosen for martyrdom as a way of preserving a sense of value. Eleanore Hill, an incest survivor, describes her stereotypical role as the virgin chosen for sacrifice, a role that gave her an identity and a feeling of specialness: “In the family myth I am the one to play the ‘beauty and the sympathetic one.’ The one who had to hold [my father] together. In primitive tribes, young virgins are sacrificed to angry male gods. In families it is the same.””

— Trauma and Recovery, Judith Herman

[aliciavikander]

Jonas and Mikkel in DARK season 2 episode 6 requested by anon

[coriesu]

The Flagellation This rare 18th century Spanish colonial figure represents The Flagellation of Jesus Christ. Hand carved and polychrome painted wood with inset glass eyes. Unknown Artist.

[cavedwell]

[agirlnamedbone]

by Amy Meissner

[dyouknowwhatimean-archive-deact]

succession (2018-2023) // an innocence worse than evil in the turn of the screw by michelle h. phillips in representations of childhood in american modernism

[violentwavesofemotion-deactivat]

Robert Lowell, from The Collected Poems of Robert Lowell; “Skunk Hour,”

[campgender]

[text: I myself am hell; nobody’s here— ]

[cor-ardens-archive]

aka roman

1. Louise Glück, 'Night Piece', Descending Figure | 2. Mark Strand, 'The Man in the Mirror', Sleeping With One Eye Open | 3. Dorothea Lasky, 'Ugly Feelings', Thunderbird | 4. Richard Siken, 'Love From a Distance', Crush | 5. Margaret Atwood, 'Waiting', Morning in the Burned House | 6. Louise Glück, 'Blue Rotunda', Averno | 7. Alice Notley, 'Hell', Culture of One | 8. Joyce Carol Oates, 'That Other' | 9. Rainer Maria Rilke, 'Before Summer Rain', unsure of translator | 10. Antonio Porcha, tr. W. S. Merwin, Voices | 11. Michael Ryan, 'This Is a Poem For the Dead', New and Selected Poems | 12. Alice Notley, 'You Have No Idea', In the Pines | 13. Martha Rhodes, ‘When You, a Puppy’, At the Gates | 14. Michael Dickman, Flies | 15. Chad Abushanab, 'Roadkill Ode', The Last Visit

[cinemapphic]

TWIN PEAKS: FIRE WALK WITH ME (1992) // BLUE VELVET (1986) Dir. David Lynch

[0requiem]

You mentioned this phrase that occurred many times in the shadow logs. Incident: NRPI.

[lifeinpoetry]

— Shane McCrae, from "To Nicholas from My Absence," Cain Named the Animal

[leehallfae]

fire walk with me (1992) dir. david lynch // shadow of a doubt (1943) dir. alfred hitchcock

[cinemapphic]

Twin Peaks: Fire Walk With Me // Crack Baby - Mitski

[fathercoded]

this is the thing that i find most compelling about the play/movie, the replication and intensification of (sexual and violent) hierarchies of power. the most blatant of these is, of course, the transactional relationship of rape for protection from other inmates wherein the rapist is explicitly termed “old man” (in the patriarchal sense) which absolutely evokes dworkin’s observation of marriage as acquiescence to male authority in exchange for a (false) promise of protection from male violence, but there are others too such as that above. incredibly disturbing

[fathercoded]

By tracing the consequences of the abuse of Leland by BOB when Leland was a child at his grandfather's house on Pearl Lakes, Twin Peaks also points out that child sexual abuse is an inescapable legacy in some families. Fire, with its attendant associations of injury, sexual longing, and power to re-forge both psyche and material self, becomes the central image of the incest inheritance. Indeed, Laura and Leland each use the language of fire to describe their experiences with BOB. Leland says, "He used to flick matches at me. He'd say, you want to play with fire little boy?" And James Hurley reports that Laura once said: "'Would you like to play with fire, little boy? Would you like to play with BOB?'" Leland, through his identification with his abuser, both becomes BOB and represses his memory of his own abuse, so that, in a sense, when Laura sees her incestuous father, she sees his abuser. And the nature of the abuse, signified by the fire metaphor, is passed along intact. The struggle between recognition and denial of the abusive father's culpability culminates in a scene that closely resembles the incest survivor's utopian fantasy of the father's confession of guilt. When Leland cries, "Oh God--Laura--I killed her--I killed my daughter--forgive me," and experiences full responsibility for his horrific actions, which entails the daughter's loss of subjecthood, the desire of the incest victim to be freed of her own distorted  sense of responsibility for the abuse is given powerful voice. Indeed, the death of Leland is the moment when the trope of the Seductive Daughter is perhaps most explicitly resisted.

Randi Davenport, The Knowing Spectator of “Twin Peaks”: Culture, Feminism, and Family Violence

[girlfictions]

Alice Notley, from In The Pines

[inthedarktrees]

I know him.

Ray Wise | Twin Peaks